Hunting Patroclus-Current Draft

Hunting Patroclus
w r i t t e n b y - S h a r a t h
N O T F O R T R A D E
Genre : Espionage/Thriller
Format : Feature
Logline : A amnesiac spy must recover his memories by hunting

a former friend through post war europe
Texture : 80's European style

FADE IN:
EXT. SCHOOLYARD - DAY
1930s schoolyard. It snows. Children play. They throw

snowballs at each other, some of them are making snow
angels, and others build snowmen.
The bell RINGS. The children trickle back inside the brick
building. A few of them don't want to go, but eventually
head inside.
Schoolyard's empty now. Two men step into the yard-

PATROCLUS (45) and ACHILLES (68), both a little cold, both
a little uneasy.
Achilles hands over a package to Patroclus.
Patroclus turns and leaves the schoolyard.
Achilles watches him go. He blows his nose with a

handkerchief and leaves.
EXT. TRAIN STATION - NIGHT
HECTOR (57, suit) waits in an old train station. He's

alone. He carries a large dossier in a leather-gloved
hand. He never moves, but he breathes.
His eyes are closed.
A TICKET HANDLER (80s, male) watches him from the booth

across the station. He rubs his fingers together. He's
locked behind a grate, his only access with the outside
world a small cutout to hand over tickets to passengers.
Hector opens his eyes and approaches the Ticket Handler.
HECTOR
One ticket to Moscow.
TICKET HANDLER
Name?
HECTOR
No name.
2.
INT. TRAIN, CARRIAGE - LATER
Hector rests in a small carriage of a train. It's wooden.

He aches, but hides it. He's got a cup of coffee on the
table in front of him, next to the open dossier.
Hector reads.
There's a picture of him- outside of an apartment. From

after the war, in his 20s. A set of information- first
name, birth date, place of residence- a flat in London.
One paragraph at the bottom of the page is handwritten.
You're not who you think you are. Higher powers decide
your actions day by day. It's time to decide who you want
to be, or discover who you were. They will not take this
lightly-
KNOCK KNOCK.
A WAITER (30s) opens the door to Hector's carriage. Hector

closes the dossier.
WAITER
Any more coffee, Sir?
HECTOR
No.
WAITER
Food?
HECTOR
No.
WAITER
Nothing?
HECTOR
Nothing.
WAITER
Very well, Sir.
The waiter leaves. Hector waits until he's long-gone

before re-opening the dossier.
There is a contact in Moscow. Address below.
Hector makes note of the address.

3.
He pulls a lighter out of his pocket. Sets it ablaze.
Hector opens the carriage window and throws the smoldering

paper out of the train.
EXT. MOSCOW STREET - DAY
Hector walks down a bleak street. As he walks, he looks up

at Moscow buildings in the distance, but they're half-
enveloped in fog.
There's a newspaper box on the corner of the street.

Hector takes one and reads.
It's in English, but Hector pays no mind.
1979... Polish Recession Strikes Farmers.
He puts the paper back.
INT. MOSCOW APARTMENT, HALLWAY - DAY
Hector moves through a hallway. The door to the exit

stairs closes at the end of the hall, but he can't see who
entered.
He approaches the door.
VOICE (O.S.)
Name?
HECTOR
Hector.
The voice emerges.
ACHILLES (80, hunched, dressing gown) watches him. He has

a handgun, but quickly relaxes.
ACHILLES
I'd know that voice anywhere.
INT. ACHILLES' APARTMENT - DAY
Achilles and Hector sink into faded couches over coffee.

There's a layer of dust over almost everything.
Hector looks around the apartment. He sighs, then turns

back to Achilles.
4.
HECTOR
They told me to come here.
ACHILLES
And what did you expect to
find? Salvation?
HECTOR
Answers.
Hector waits.
ACHILLES
That I cannot offer you. My
time with the British
intelligence is over. They've
cast me out, left me to the
damned dogs in Moscow.
HECTOR
But you know who I am.
ACHILLES
I've heard rumours. Some war
stories. Nothing that could
help you in your current
predicament.
Achilles takes a sip of coffee with shaky hands.
HECTOR
I need your superior's name.
Who you answered to.
Achilles chuckles- it turns to a raspy COUGH.
ACHILLES
That won't help you.
HECTOR
It might-
ACHILLES
It won't.
HECTOR
Then what's the trouble in
telling me?
Achilles is shaking now.
ACHILLES
I don't like to say his name.
Brings back bad memories.
5.
HECTOR
At least you have memories.
ACHILLES
At least I do.
Achilles sighs. He puts down his coffee.
ACHILLES (CONT'D)
We called him Patroclus. But
apparently he's gone now-
disappeared into Europe post-
war. You'll never find him, no
matter how fucking deep you go,
no matter the threads you
follow. Don't try to find him,
Hector. You won't.
HECTOR
But he has answers?
ACHILLES
(nods to himself)
Yes. Yes- If you found him,
then maybe, probably- he'd have
what you're looking for.
Achilles pulls himself off of the couch. He plods to the

kitchen, hunched, and pours another coffee.
ACHILLES (CONT'D)
Patroclus is a plague. Nothing
good has come from his
presence, nothing good will
come from his fucking
existence. He's a disease.
Hector places his coffee on the table.
HECTOR
Then I am the cure.
EXT. MOSCOW STREET - DAY
Hector leaves the Moscow apartment block and walks out

onto the street. He lights a cigarette as he goes,
descends down the road into the fog.
6.
INT. BAR - THAT NIGHT
Hector enters a bar filled with SOVIET SOLDIERS. He

approaches the counter and looks at HERMES (30s).
HECTOR
Whiskey.
Hermes pours one.
HECTOR (CONT'D)
No- more.
He continues to pour. Hector's hand rises higher and

higher until the glass is almost full-
HECTOR (CONT'D)
That'll do.
Hermes caps the bottle of whisky. Hector sculls it.
INT. BAR - LATER
Hermes watches Hector.
HERMES
This isn't your homeland.
HECTOR
Why would you say that?
HERMES
I know people, I know where
they come from. You love this
place- but you wouldn't die for
it.
Hector grins and lights a cigarette.
HECTOR
I've never been here before.
HERMES
You have. Just don't remember.
HERMES (CONT'D)
You wish to find Patroclus.
Hector raises his hand to cover the sun behind Hermes.
HECTOR
Yes.
7.
HERMES
I can set you on the path to
him.
EXT. BAR - LATER
Hector and Hermes climb into a small car. Hermes STARTS

it.
EXT. SNOWY ROADS - DAY
They drive down snowy roads. Hermes looks over at Hector.
HERMES
What do you know? Have any
friends? Family?
HECTOR
Not that I can remember.
They approach a checkpoint.
EXT. CHECKPOINT - CONTINUOUS
Two SOVIET SOLDIERS (30s, winter gear) approach. The car

slows down.
SOVIET SOLDIER
Papers.
Hermes hands his over. Hector checks his pockets.
SOVIET SOLDIER (CONT'D)

Out of the car.
HECTOR
I must have misplaced them-
The Soldier raises his rifle.
EXT. CHECKPOINT - MOMENTS LATER
Hector and Hermes are pushed toward the edge of the road.
They're greeted by a cliff-face.
HERMES
(whispers)
You want to remember? Your
past?
8.
HECTOR
(whispers)
Of course.
HERMES
(whispers)
Go to the Service. London. They
have your information- on file.
Pierce the Achaean ramparts,
find yourself, and find
salvation along the way.
HECTOR
(whispers)
What about you?
Hermes grins.
HERMES
(whispers)
Bullets don't hurt.
The Soldier SHOOTS Hermes. He topples off the edge and

into a river below. Face in the water.
The Soldier turns to Hector.
Hector moves the barrel as he FIRES. He pulls a knife from

the Soldier's latch and juts it into his throat.
Blood spurts. Hector SLIDES out the knife and it gushes

out, stains the Soldier's clothes.
Hector grabs the gun and pushes him off the edge.
He turns to the other 3 SOVIET SOLDIERS at the checkpoint

and aims.
HE FIRES THREE TIMES.
EXT. CHECKPOINT - MOMENTS LATER
Hector hefts up and dons one of the Soldier's winter

coats. He collects their rifles and dumps them into the
back of Hermes' car.
One of the soldiers crawls onto the road. He looks up as

Hector gets into the car. The Soldier clutches at his
shoulder. Blood runs over his hand onto the snow.
9.
Hector ACCELERATES and CRUNCH- leaves the Soldier behind

as roadkill.
INT. CHECKPOINT OFFICE - SAME TIME
A radio CRACKLES.
RADIO
(in Russian, subtitled)
Checkpoint, come in.
Checkpoint!
But nobody's left to respond.
FADE TO:
EXT. TALGAR AIRPORT - DAY
A small passenger plane LANDS at a regional airport. It's

wheels bump as it hits the tarmac.
INT. PASSENGER PLANE - SAME TIME
Hector waits in his seat. A FLIGHT ATTENDANT walks over.
FLIGHT ATTENDANT
We have a Taxi waiting outside,
Sir.
HECTOR
How much?
FLIGHT ATTENDANT
Free of charge, Sir. Your costs
have been covered, courtesy of
Agamemnon.
HECTOR
Agamemnon?
FLIGHT ATTENDANT
Yes, Sir. He asked me to pass
on a message.
He said to say, Welcome back. See you in London at my

place tonight for dinner.
Hector nods, a way of saying thank you. The Attendant

walks off as the seatbelt sign dims.
10.
EXT. AGAMEMNON'S FLAT - NIGHT
A Taxi pulls up outside Agamemnon's flat. Hector steps out

and approaches the door.
He KNOCKS on the door.
AGAMEMNON (60, jumper and slacks, glasses) opens it. He

grins.
AGAMEMNON
Come in.
INT. AGAMEMNON'S FLAT, DINING ROOM - NIGHT
Agamemnon and Hector sit. Hector drinks coffee. Agamemnon

drinks tea.
AGAMEMNON
When I heard you were back,
I'll admit, I got a little
excited. Between you and me,
it's been a few years since the
Service has had any good
agents. Especially since you
left. Speaking of, where did
you go? We weren't able to find
you.
HECTOR
If I didn't want to be found...
I wouldn't have been found.
Agamemnon grins.
AGAMEMNON
You really were one of the best
of us.
A SERVANT (30s) brings out dinner on silver platters.

Agamemnon prepares a serviette for himself.
AGAMEMNON (CONT'D)
It's good to have you back. I'm
excited to work with you.
Hector nods. He stares at Agamemnon as he takes a mouthful

of food.
INT. THE SERVICE, ENTRANCE - DAY
Hector stands at the entrance to the Service.

11.
The Clerk's desk is empty. There's a note on the counter.
Down the hall, all the way.
Hector stuffs the note into his pocket.
He descends into the Service. Keeps walking, until he

starts to fade away into the distance.
INT. THE SERVICE, GERTRUDE SUITE - LATER
Hector opens the door to the Gertrude Suite.
It's an expansive room- not actually a suite, but a place

to meet, to talk, to strategize. Hector sits down at the
far end of a wooden long-table.
He pours himself a small glass of water, and waits.
MUMBLINGS OUTSIDE.
Hector rises in his seat.
ODYSSEUS (50s, bowler hat, suit) is the first to enter the

Gertrude suite.
He holds the door open for NESTOR (85, wheelchair,

blanket, cane), who is wheeled in by Agamemnon.
They all take respective seats at the long-table.
AGAMEMNON
(to Hector)
They've all been briefed on
your return.
NESTOR
Hmph.
ODYSSEUS
Give him some respect, Nestor.
NESTOR
Give him some humility! I did
not run from my problems. This
coward did.
ODYSSEUS
Achilles would have your head
for such imputence-
12.
AGAMEMNON
We can't rely on Achilles
anymore. Known that for years.
HECTOR
And what happened to Achilles?
NESTOR
His pride got the better of
him. Apparently it got the
better of you-
ODYSSEUS
(stands)
Enough, Nestor. You are wiser
than this!
Nestor lowers. Hector nods.
HECTOR
Tell me about the Russians.
AGAMEMNON
In the time since your
departure, the Russians have
solidified their position. They
are well-defended. Attempts to
pierce their ramparts have
failed-
NESTOR
It's only a matter of time
before we break through. They
aren't well-defended, they just
know us inside and out.
ODYSSEUS
I think not. What we need- is a
different approach. Strength
has failed, every time.
HECTOR
So we use our wits.
EXT. SNOWY MOSCOW STREET - DAY
Two black VANS MOVE down a snowy street.
HECTOR (V.O.)
Frontal assaults have been
suicide so far.
13.
An OPERATIVE (40s, winter clothes) pulls on a chain. A

garage door rises and the vans drive in.
HECTOR (V.O.) (CONT'D)

Patroclus has to make a move.
We'll wait for it, and when he
moves, we will strike him down.
AGAMEMNON (V.O.)
You believe Patroclus is
involved?
HECTOR (V.O.)
He's the key to defeating the
Russians. And he will make a
mistake.
Several AGENTS (30-40s, bearded, russian winter clothes)

exit the vans as the operative shuts the garage door.
They load rifles, unpack food supplies, trace convoys on

maps. They wait.
INT. THE SERVICE, GERTRUDE SUITE
Hector oversees the room.
HECTOR
Have them ready.
AGAMEMNON
And you?
HECTOR
I'm going to France.
INT. NESTOR'S COTTAGE - DAY
Nestor sits alone in his cottage. He's wearing a bathrobe,

reading a newspaper, drinking tea.
The phone on the table beside him RINGS.
NESTOR
Hello?
EXT. LONDON FLAT, BALCONY - DAY
Hector sits on the balcony of a London Flat- his London

Flat.
14.
He smokes a cigarette- ashtray on a glass table next to

him. Foldout chair creaks as the wind blows gusts over the
city.
There's a gun on the table as well, loaded, another

magazine sitting with it.
He holds a phone to his ear.
INTERCUT
HECTOR
I was told I could reach you on
this line. It's Hector.
NESTOR
Ah. Hector. What do you want?
Is this another set of
mockeries?
HECTOR
Somebody's hiding something,
Nestor, I know it.
NESTOR
You're quick to assume.
HECTOR
You don't have my knowledge.
NESTOR
So share it with me. I'm an
advisor, not an outsider, for
God sake.
Hector sighs. He puts down his cigarette in the ashtray.
HECTOR
Somebody high up, they have a
link to Patroclus.
NESTOR
Humph. We've known that for
years now.
HECTOR
Higher than you, higher than
me. Somebody right at the top.
NESTOR
Do you know who?
15.
HECTOR
Not yet.
NESTOR
Then why did you call me here?
Nestor folds away his newspaper.
HECTOR
I can find them- but I need
you.
Nestor LAUGHS.
NESTOR
(still chuckling)
Hector, please.
Hector pulls the phone closer. Fondles the handgun in his

spare hand.
HECTOR
You're the only one I trust,
Nestor.
Nestor waits. Hector doesn't break.
NESTOR
Tell me more.
HECTOR
We all want Patroclus, to get
him. Kill him, defect him, hide
him away, I don't know what you
want. He's connected to the
Service, in some way, I just
don't know how yet.
NESTOR
A tempting offer, Hector. But
that's implying you're right
about the Service and its ties
to Patroclus.
HECTOR
I'll investigate Patroclus.
That should hold Agamemnon's
attention. Find something in
the Service. Confirm my
suspicions.
NESTOR
If I don't find anything?
16.
HECTOR
Nothing ever happened.
Nestor takes a sip of his tea.
NESTOR
One thing still perplexes me.
HECTOR
Yes?
NESTOR
What's your connection to
Patroclus?
HECTOR
I... I don't know.
Nestor nods to himself.
NESTOR
I'll join your team. But get
Odysseus onboard as well. I
trust him.
HECTOR
How do you know he's to be
trusted?
NESTOR
Tried to shoot me.
INT. CAFE - DAY
Hector and Odysseus sit in a London cafe. Hector holds a

half-empty cup of coffee. Odysseus hasn't touched his
drink.
HECTOR
(looks at drink)
You don't like coffee?
ODYSSEUS
Irritates me.
HECTOR
Odysseus, I was told you tried
to shoot Nestor?
Odysseus stares blankly.

17.
ODYSSEUS
And?
Hector lays out a napkin.
HECTOR
What happened?
Odysseus sighs.
ODYSSEUS
I made a mistake. Thought he
was working for the Russians.
Sending them coded messages. So
I went to arrest him, he
defended himself...
HECTOR
The situation must have de-
escalated.
ODYSSEUS
Agamemnon bursts through the
door, tells me that we have a
contact in Moscow, somebody so
secret nobody knows he's there
except them.
HECTOR
Achilles.
ODYSSEUS
Achilles. So I put down my gun
and that's that.
Hector nods. His vanilla slice arrives. He cuts into it.
HECTOR
I'm putting together what you
could call a team. Operating
all across Europe. Nestor
thinks I can trust you.
(takes a bite of slice)
Can I?
Odysseus squirms.
ODYSSEUS
I don't like him, he doesn't
like me. I assume he's on the
team?
18.
HECTOR
He recommended you.
ODYSSEUS
Him? Really?
HECTOR
Look, I wouldn't come to you if
I didn't trust you. Nestor's
word is solid, and I did some
digging myself. It'll be better
than the pencil-pushing they've
got you doing at the Service.
Odysseus nods.
ODYSSEUS
What's the operation?
INT. UNDERGROUND LONDON SAFEHOUSE, ENTRANCE HALLWAY - NIGHT
Hector moves down a hallway. Walls are graffiti-covered

concrete, a light flickers over him as he moves.
UNDERGROUND LONDON SAFEHOUSE, MAIN AREA
Hector enters the main area of the safehouse.
Odysseus, Nestor and a DOZEN SOLDIERS sit in foldout

chairs.
Hector approaches a pedestal.
HECTOR
Everyone's here. Good.
He opens a briefcase under the pedestal and pulls out a

few images. There's a projector next to the pedestal- he
places an image down.
Photo of Agamemnon shows up on the screen.
HECTOR (CONT'D)
This is Agamemnon. Some of you
may have met him. He runs the
Service these days. We start
with him and work our way down.
Agamemnon is one of two primary
targets.
19.
Hector places down the next photo. It's a blank silhouette

of a person's upper body and head.
HECTOR (CONT'D)
Patroclus is the second target.
No doubt you have heard
stories. Either one of the two
targets leads us to the end
goal: dismantling whatever
corruption has stuck its roots
in the Service. Patroclus has
the information we need,
Agamemnon has the information
we need.
Next image: one of Achilles crossing a road.
HECTOR (CONT'D)
Achilles is based in Russia. I
want two people going to
Moscow. Find him and keep an
eye on him.
Next image: Eiffel Tower.
HECTOR (CONT'D)
First stop for the rest of us
is Paris. Half of us are
searching for Patroclus, half
of us are keeping tabs on the
Service. Agamemnon will be
watching all flights into and
out of London, so don't go back
there. Two agents will stay
behind and make contact through
coded messages with either
Odysseus, Nestor or myself. No
communications that can't be
done in person for the rest of
you. Clear?
The audience nods.
HECTOR (CONT'D)
Let's get to work.
INT. LONDON HEATHROW AIRPORT - DAY
The agents, soldiers and higher-ups move seperately

through the airport.
Soldiers carry black duffel bags. Agents wear casual

clothing.
20.
TERMINAL 12
The Soldiers are cleared by a FLIGHT ATTENDANT onto a

flight to Bordeaux Merignac Airport.
TERMINAL 3
The Agents are cleared to a flight to Paris Orly Airport.
TERMINAL 1
Odysseus and Hector move onto a plane for Charles de

Gaulle airport.
EXT. BORDEAUX MERIGNAC AIRPORT - DAY
The Soldiers climb into a Volkswagen van.
VOLKSWAGEN VAN - LATER
10 of the soldiers sit in the back, two in the front

cabin. Those in the back load pistols and fold together
safety gear.
They approach a checkpoint. The van slows.
A FRENCH SOLDIER (30s) approaches. The driving Soldier

smiles at him.
SOLDIER
(in French, subtitled)
Good day, officer! Beautiful
weather, isn't it?
The Soldier raises a suppressed pistol. He FIRES.
EXT. PARIS STREETS - DAY
Hector leans on a wall. He looks up at the sky.
A FRENCH AGENT (40s, hunched-over) approaches him. Leans

next to him.
FRENCH AGENT
De Gaulle wants to know why you
are here.
21.
HECTOR
Agamemnon send him a memo.
FRENCH AGENT
Get out of our country by the
end of the month.
The Agent walks away.
INT. PARIS SAFEHOUSE - NIGHT
Odysseus and Hector sit in the Paris Safehouse.
It's barebones, empty, except for their individual

suitcases, propped up against the wall.
Hector seals a letter.
HECTOR
Let us hope this gets to
Agamemnon soon.
ODYSSEUS
We can't pull out. Agamemnon
would suspect us.
HECTOR
That he would. Our only option
is to continue toward a meeting
with De Gaulle- and distract
the French agency for long
enough to make that happen.
ODYSSEUS
Say the word. I can have an
airport blown up, a church torn
down-
HECTOR
No. Nothing extravagant.
Just... make them lose their
focus on us.
Odysseus nods.
INT. TRAIN STATION - NIGHT
Odysseus stands in a CROWD at a train station. Cap down

over his face. Bomber jacket, hands tucked in.
22.
A train PULLS UP. Odysseus gets on it.
TRAIN
Odysseus gets on the train, near a seat railing.
He leans down and pulls out a brick of explosives from the

inside of his jacket.
He sticks it to the inside of the railing, where nobody

will see it unless they are looking for it.
Odysseus rises back into the crowd.
INT. 2ND TRAIN STATION - LATER
Odysseus steps off the train. He watches the oncoming

crowd.
Two FRENCH AGENTS (30s, suits) push through the crowd onto
the train.
Odysseus moves up stairs.
EXT. PARIS STREETS
He approaches a phone stand, inserts a few coins, rings a

number.
Another line picks up.
ODYSSEUS
They took the bait.
He hangs up.
INT. 3RD TRAIN STATION
An undercover agent hangs up a phone. He approaches an

oncoming train. Carries a duffel bag.
He looks over his shoulder as he boards the train.
INT. DE GAULLE'S OFFICE - DAY
DE GAULLE sits in his office. Not actually De Gaulle- he's

dead. Whoever this is took his name.
He's on the phone with someone.

23.
DE GAULLE
What the FUCK is going on with
the trains?!
VOICE (O.S.)
We're working on it. Each brick
is identical so far, and
they've all been timed to the
leaked information.
DE GAULLE
FIND THEM! I DON'T CARE WHAT IT
TAKES! FUCKING FIND THEM AND
BRING THEM TO ME!
De Gaulle SLAMS the phone down. He takes a deep breath.
INT. THE SERVICE, GERTRUDE SUITE - DAY
Nestor and Agamemnon sit in the Gertrude Suite over tea.
NESTOR
I want to go to Europe.
AGAMEMNON
Europe?
NESTOR
France, specifically. Be more
hands on with the Patroclus
mission.
AGAMEMNON
Why's that?
NESTOR
My efforts are best spent
there.
Agamemnon shakes his head.
AGAMEMNON
They'll be fine. Besides- I
need you here. On my side.
NESTOR
I'll ask you- why's that?
24.
AGAMEMNON
You think I trust Hector?
Odysseus? They have some link
to him. To Patroclus.
NESTOR
You don't need me for that.
AGAMEMNON
I need to make sure you're with
me. With the good guys!
Nestor shakes his head.
NESTOR
My interests serve the Service,
and nobody else.
AGAMEMNON
Then I am the Service.
Agamemnon rises.
AGAMEMNON (CONT'D)
Stay the fuck away from Hector.
He leaves.
INT. PARIS SAFEHOUSE - SUNDOWN
Hector sits in the Paris Safehouse.
EXT. WAR-TORN STREET - DAY {FLASHBACK}
HECTOR (18, army fatigues, rifle) walks down a war-torn

street.
TANKS ROLL ALONG BEHIND HIM.
CIVILIANS huddle, facing brick walls to either side,

marched on by SOLDIERS of indistinguishable nation.
PATROCLUS (41) walks next to Hector. He points at a few of

the civilians.
PATROCLUS
See these people, Hector?
HECTOR
I see them.
25.
Hector doesn't turn to face Patroclus, not once.
PATROCLUS
They're weak-willed. They face
the walls. We don't.
HECTOR
We march ahead, right?
PATROCLUS
(nods)
We march ahead. That's right.
Patroclus stops. Hector finally looks back at him.
HECTOR
They're civilians, Patroclus.
You don't have to do this.
PATROCLUS
You gotta learn.
Patroclus RAISES AN OPEN PALM. The soldiers move away from

the civilians. Raise their rifles.
He clenches his fist. THE SOLDIERS FIRE.
PATROCLUS (CONT'D)
(grins)
Feels good to kill.
INT. PARIS SAFEHOUSE {END FLASHBACK}
Odysseus closes the door to the safehouse. Hector looks

back at him- out of whatever zone he'd been sitting in.
He's holding two brown bags, filled with groceries.
ODYSSEUS
There was a farmer's market.
INT. PARIS SAFEHOUSE - LATER
Odysseus and Hector sit over steaks.
ODYSSEUS
French know how to cut a steak.
Reminds me- I know a great
butcher in East Germany I
haven't been to in forever.
26.
HECTOR
Oh yeah?
ODYSSEUS
Yeah. Don't know how they do
it- but the meat is superb.
HECTOR
Didn't know you'd been to East
Germany.
Odysseus nods.
ODYSSEUS
They sent me in for a few
years- the Americans. Wanted to
keep an eye on everything
happening beyond that wall.
HECTOR
You worked with the Americans?
ODYSSEUS
For a little while. Then I came
to Britain.
INT. UNDERGROUND PARIS SAFEHOUSE - NIGHT
The Soldiers sit- hunched around one phone- waiting. They

make no movement.
It RINGS. A Soldier picks up.
INT. DE GAULLE'S OFFICE - DAY
De Gaulle sits in his office, on the phone.
INTERCUT
De Gaulle twists the cord around his finger.
DE GAULLE
I've been told you're a neutral
party. Whoever pays you the
highest is the benefiter.
27.
SOLDIER
How effective we are for your
cause entirely depends on
money. But we need to meet in
person.
DE GAULLE
Then we'll meet. Eiffel Tower,
tomorrow, noon?
SOLDIER
At the Restaurant at the top of
the tower.
The Soldier hangs up. He dials another number.
SOLDIER (CONT'D)
The Restaurant at the top of
the tower.
INT. EIFFEL TOWER, ELEVATOR
Hector rides an elevator to the top of the Eiffel Tower.
EXT. EIFFEL TOWER, RESTAURANT
The elevator stops and opens. Hector steps out into an

emptied restaurant.
De Gaulle waits for him at the center table, finishing a

meal.
He stands.
DE GAULLE
You must be Hector. Welcome,
welcome. Please, do sit.
HECTOR
De Gaulle.
DE GAULLE
One and the same. You've taken
quite the effort to remain
operational here in France- I
have a question for you. Why?
28.
Hector sits. Rubs his palms together.
HECTOR
There's a target here in
France.
DE GAULLE
Then you should have called.
HECTOR
Calling was not an option in my
circumstances.
De Gaulle chuckles to himself, takes a sip of the wine

glass to his side.
DE GAULLE
I'm gonna give you this one
chance to get your men and get
out of France. Go to Germany,
Russia, Lithuania, East
Germany. Just get out and stop
making a mess.
Hector smiles.
HECTOR
You took over after De Gaulle
passed. Even took his name. But
why pick this place to meet?
There are lots of places to get
a vantage spot from.
DE GAULLE
My men had them all covered.
HECTOR
But are they really your men?
A bullet FLIES into the restaurant and shatters the wine

glass.
Hector pulls a piece of glass from his jacket.

29.
HECTOR (CONT'D)
Did you hide Patroclus?
De Gaulle shakes his head.
DE GAULLE
If we had him, we would have
sold him to another country by
now. We never hid him.
HECTOR
But he was here.
DE GAULLE
I- Yes. He was here. But I'm
not going to dispose of such
information in such a place.
De Gaulle rises.
DE GAULLE (CONT'D)
And you won't kill me either.
I'll contact you soon.
He enters the elevator and leaves.
INT. PARIS SAFEHOUSE, BEDROOM - NIGHT
Hector lies in bed.
INT. DINNER PARTY - NIGHT {FLASHBACK}
HECTOR (23) sits at the head of a dinner party. PATROCLUS

(46) sits at the other end.
MARY (late 20s, dress) sits just down from Hector. She
rests her hand on his.
ELIZABETH (late 40s) sits near Patroclus.
Hector rests his other hand on a cup of tea.
HECTOR
I mean really, I'm just glad to
be home. With all of you.
30.
MARY
I've heard terrible things
about the conditions out there.
PATROCLUS
It wasn't all bad, was it,
Hector?
Hector stares at Patroclus.
HECTOR
We had it alright. Didn't see
much action.
ELIZABETH
I think that's a good thing. I
couldn't have stood to see
Patroclus here be injured.
Mary releases Hector's hand. He rushes to move it away

from her, and grabs his serviette. Patroclus frowns at the
movement.
Hector prepares his serviette.
HECTOR
Well it's all over now. All
over now.
INT. PARIS SAFEHOUSE - THE NEXT DAY
Odysseus leads Hector into the Paris Safehouse.
They're the only ones there.
ODYSSEUS
Quick, get it out. Won't be
long before the rest of us get
here.
Hector places the package on the table, opens it. It's a

shoebox.
He opens the shoebox, tears back the butchers paper

inside, to reveal a tape.
PARIS SAFEHOUSE - LATER
Odysseus and Hector sit in front of a tape player.
Hector slides the tape into the player. Presses play.

31.
FEMALE VOICE (O.S.)

August 5th, 1950. Patroclus
continues to elude our forces.
It's suspected that he crossed
into West Germany with allies.
So... we have to hand off to
the Germans.
Hector walks through Paris Streets. TOURISTS, CIVILIANS, a

few FRENCH MILITIA pass through him as he goes.
FEMALE VOICE (V.O.)

Patroclus remained in France
for several months- from early
February to late August. We
suspect he was located in Paris
in his final week of stay, the
rest of the time, we don't
know. Two of our agents got
close to him, both were found
in dumpsters the next day. His
level of support is unknown, if
he has any at all. I highly
recommend that German agents do
not engage with Patroclus until
more reconnaissance is
completed.
MALE VOICE (V.O.)

The following message is for
exclusive ears only. Take care
when examining the tape.
DE GAULLE (V.O.)
Hector. I know what Patroclus
is capable of. If you capture
Patroclus, bring him to me.
I'll ensure that Britain is
seen in a new light.
(pauses for a moment)
There is a dossier. We call
them the Patroclus Files.
They're somewhere in the
Service. Look hard enough and
you'll find them. They'll lead
you to Patroclus.
(sighs)
Now leave my country alone.
32.
Hector holds a phone to his ear- the cord stretches back

into the safehouse, lodged in between the closed door and
the frame.
NESTOR (V.O.)
Hector?
HECTOR
Nestor. There is a dossier. A
set of files. Find them.
NESTOR (V.O.)
I'll see what I can do.
Nestor hangs up.
Agamemnon enters a phone number on his personal phone.
DE GAULLE
This is an international
number. How did you get my
phone number-
AGAMEMNON
You want Patroclus, don't you?
DE GAULLE
I-
(in English)
Who is this?
AGAMEMNON
A friend from high up.
Patroclus is working with the
contact you just met at the
Eiffel Tower. He's a double
agent.
De Gaulle scoffs.
DE GAULLE
Impossible-
AGAMEMNON
Capture him and you capture
Patroclus.
33.
Agamemnon hangs up.
INT. UNDERGROUND PARIS SAFEHOUSE - NIGHT
De Gaulle and a few FRENCH AGENTS (varying agents) walk

into the Underground Paris Safehouse.
The Soldiers- Our Soldiers- surround them, wearing

tactical gear, holding rifles.
One Soldier stands in the middle of the room.
DE GAULLE
This is all a little
extravagant.
SOLDIER
You're in my domain. You speak
English.
De Gaulle huffs- but begrudges his language.
DE GAULLE
Fine.
SOLDIER
We require payment upfront.
DE GAULLE
And what is the price?
A few of the Soldiers raise their automatic rifles.
They FIRE on the French Agents. De Gaulle is left

untouched.
He looks at the bodies.
DE GAULLE (CONT'D)
You have a taste for
showmanship.
INT. RECORDS DEPARTMENT - NIGHT
Nestor enters the records department, an extensive room

with hundreds of file cabinets.
He wheels toward the back, far back, against the wall.

He's panting by the time he gets there- Nestor wipes away
sweat with a handkerchief.
34.
He starts to open cabinets, flicking through files. He

sorts through each one, then moves to the next, feeling
their weight.
Nestor reaches one that feels unusual. He reaches toward

the back of the cabinet- CLICK- and a compartment opens at
the back.
He pulls out the dossier inside. Begins to read.
INT. PARIS SAFEHOUSE - NIGHT
Hector and Odysseus sleep.
RING RING, RING RING, RING RING-
Hector rises, stumbles, to the phone. He picks it up.
HECTOR
This is Hector.
NESTOR
Hector- I found the ties. It's
all here, in a dossier.
Nestor sighs.
NESTOR (CONT'D)
What's in here... we have to
meet in person. But in case we
can't... I'll send through a
location from which you can
retrieve them.
HECTOR
I'll be back in London soon.
Talk then.
NESTOR
Call me when you're back.
Nestor hangs up.
Odysseus looks at Hector. He's standing now, near the

phone.
Hector walks down a street. Two Soldiers (casual clothes)

follow him.
35.
Hector slips into an alleyway.
PARIS STREETS, ALLEYWAY
Hector starts moving down the alleyway. The Soldiers enter

and draw their guns.
SOLDIER
Stop, Hector.
Hector pauses.
HECTOR
You would betray me?
SOLDIER
Isn't a matter of betrayal-
it's a matter of the highest
bidder.
The Soldier approaches, holding handcuffs.
He latches one handcuff on-
Hector THROWS an elbow, breaks his nose. He WRAPS the

handcuffs around the Soldier's neck.
HECTOR
You're not gonna kill me, are
you? Can't. They want me alive.
SOLDIER
(gagging)
Alive... but only to the point
of interrogation...
The other Soldier FIRES. The bullet tears through the

hostage's leg and into Hector's.
They both fall to the ground. Hector releases the hostage,

draws his own handgun, FIRES TWICE at the Soldier, then
ONCE in the back of the hostage's head.
He rises and stumbles away.
Hector opens the door to the Paris Safehouse. Odysseus

looks up from the couch. He's been reading files.
HECTOR
Odysseus...
36.
Hector COLLAPSES, slumps against the wall.
Odysseus rushes over, tears open his pant leg.
HECTOR (CONT'D)
Your people... Our people...
Trust no-one.
ODYSSEUS
They did this to you?
HECTOR
More of them will be coming for
you. You need to... You need to
LEAVE.
Odysseus runs and grabs a medical kit from the bathroom.
When he gets back, Hector's pointing at the files.
HECTOR (CONT'D)
What were you looking at?
ODYSSEUS
Just some files. A message I
uncoded.
HECTOR
And?
ODYSSEUS
Doesn't matter now.
Hector swallows, nods. Odysseus begins to clean the wound.
HECTOR
East Germany... Go to East
Germany.
ODYSSEUS
Why?
HECTOR
Last place they'll look. Maybe
you'll get a few years to... to
rest. A better life than this.
Odysseus starts applying pressure with a bandage.
Hector reaches up for him- he's getting pale.

37.
HECTOR (CONT'D)
Don't let them find you.
He slumps.
FADE TO BLACK.
EXT. BORDER CROSSING - NIGHT
Odysseus crosses the border into East Germany. He watches

SOVIET SOLDIERS as he goes. They stare back.
As he enters East Germany, something changes. Odysseus

doesn't know what it is, but he feels it. Winds shifting.
Fate changing.
He continues on.
INT. PARIS SAFEHOUSE, BEDROOM - NIGHT
Hector WAKES. Groggy at first.
He falls out of bed.
INT. PARIS SAFEHOUSE
Hector crawls into the main area of the safehouse. Moves

toward where the files were. They're gone now, replaced
with a tape.
PARIS SAFEHOUSE - MOMENTS LATER
Hector slowly clambers up into a chair near the tape

player.
He slides in the tape.
ODYSSEUS (V.O.)
Hector. If you're listening to
this, then you've woken up. I
did what you said. Moved into
East Germany. This is pre-
recorded, but I have a couple
of contacts who can smuggle me
in.
(pauses)
The message I decoded was from
Nestor. A location for the
Patroclus Dossier.
(MORE)
38.
ODYSSEUS (CONT'D)
I destroyed the message, but
you have the address with you
now.
(pauses again)
Recover. Get out of France.
They're coming for you.
The tape stops.
INT. NESTOR'S COTTAGE - NIGHT
The Cottage is quiet. Nestor lives alone.
The bedroom is equally quiet. A wheelchair next to the

bed. Pictures on the mantelpiece. A lampshade on the
bedside drawer.
He lies in his bed, the lights are off. A FIGURE stands

over him at the foot of the bed.
Nestor looks up at him.
NESTOR
The Service will fall apart
when this unravels. No matter
how long it takes, no matter
the cost. That cost involves
me? So be it.
The Figure raises a suppressed handgun.
CLINK.
Nestor's head jostles with the impact of the round. The

Figure lowers his hand. He leans down to pick up the shell
casing, then leaves.
I/E. TRUCK, FRONT CABIN - DAY {FLASHBACK}
HECTOR (18) and PATROCLUS (41) drive down a muddy road.

Hector drives, Patroclus sits in the passenger seat. It's
POURING outside.
HECTOR
You know, I drove these before
the-
BULLETS PIERCE the cabin from all directions. The truck

SWERVES off the road.
It CRASHES into a ditch.

39.
Patroclus GROANS as other GERMAN SOLDIERS (varying ages)

approach the truck. He rises his rifle.
One German goes to open the passenger door-
Patroclus FIRES a burst of rounds into him and he falls

into the mud.
MUDDY DITCH
He KICKS open the door and starts aiming- FIRING- at the

other soldiers. Patroclus stumbles out into the mud- gun
CLICKS empty.
He picks up a German Soldier's rifle and FIRES that until

it's out.
One German, THE DIRECTOR (13) is left, waiting on the side

of the truck, with a knife. He takes a few breaths to
prepare himself.
He JUMPS at Patroclus. Patroclus turns to look as he

tackles him to the mud. The Director starts to PUSH the
knife toward his chest.
Patroclus GRUNTS, his teeth baring. The Director leans his

weight into the push.
It isn't enough.
Patroclus starts to push back. He KICKS The Director off

of him, wrestles for the high ground, then starts PUSHING
the knife toward The Director's chest.
He presses the knife in-between The Director's pectorals.

Blood draws. The Director gasps- loses his grip- Patroclus
PUSHES down.
Hector swaggers over, grabs Patroclus, pulls him up.
HECTOR
Hey! HEY! PATROCLUS! He's just
a kid. He's just a kid.
PATROCLUS
Let me go! Let me go! Fuckin
try to shoot us! HUH?!
Hector keeps a tight grip on Patroclus.

40.
HECTOR
(to The Director)
You understand English?
The Director nods hastily.
HECTOR (CONT'D)
Walk away.
Patroclus releases the knife, stumbles up. The Director

looks at him. Blood draining from his chest.
The Director turns, walking, then running away.
Hector lets Patroclus go.
HECTOR (CONT'D)
(breathless)
He's just a kid, Patroclus.
Just a kid.
INT. PARIS SAFEHOUSE - DAY
Hector leaves the Paris Safehouse.
EXT. PARIS SAFEHOUSE
Hector leaves the building. He enters a Taxi outside.
INT. TAXI
Hector lies back in his seat.
HECTOR
Take me to the Luxembourg
border.
Hermes looks back at him.
HERMES
Of course. But how about I take
you further?
INT. TAXI - NIGHT
Hermes drives. Hector lies in the back, resting his leg.
HERMES
Have fun in Britain? France?
You've been all across Europe.
41.
HECTOR
I wouldn't say fun.
HERMES
The Service welcomed you back
with open arms.
Hector sighs.
HECTOR
Only to use me for loose ends.
HERMES
The hunt for Patroclus
continues.
HECTOR
He's all I can remember. Every
little memory from before,
every single image in my head-
he's there. His presence is not
unnoticed, Hermes.
Hermes taps on the steering wheel.
HERMES
And the Service?
HECTOR
Corruption seeps in.
Hermes nods.
Hector rises to look at him.
HECTOR (CONT'D)
What happened to you? At that
Checkpoint?
HERMES
Why didn't you die from that
bullet wound?
Hermes grins and looks back at Hector.
HERMES (CONT'D)
Divine intervention.
EXT. GAS STATION - NIGHT
Hermes fills up the car, Hector leans on the car.

42.
HERMES
Hector.
HECTOR
Hermes.
HERMES
Do you remember taking your
first life?
Hector shakes his head.
Hermes stops the gas.
HERMES (CONT'D)
But you know how to kill.
HECTOR
If I can't remember killing,
then did I actually kill
someone?
Hermes puts away the gas pump.
HERMES
This place smells of gasoline.
EXT. NESTOR'S COTTAGE - DAY
Agamemnon smokes in front of Nestor's cottage. 3 BLACK

VANS drive away down the driveway and onto the road. He
waits until he can't see them anymore.
Agamemnon flicks the cigarette onto the front porch. It

ignites a GASOLINE trail which spreads across the front of
the house.
INT. TAXI - NIGHT
Hector lies in the back of the Taxi. Hermes has parked

them on the side of a road.
HERMES
Get some sleep. You'll need it
heading into Moscow.
Hector looks up at Hermes.
HECTOR
How do you know I'm going to
Moscow?
43.
HERMES
Just sleep, Hector. Big day for
you tomorrow.
Hector nods. He lies down.
INT. VAN - DAY
Hector wakes. He's in the back of a VAN- two DRIVERS in

the front cabin- you can see them through a grate.
Hector stumbles up.
HECTOR
Where are we?
The passenger seat driver looks back at him.
DRIVER
We are entering Copenhagen now.
Stop for rest, then we continue
to Stockholm, Helsinki.
HECTOR
What happens at Helsinki?
DRIVER
You get on a boat to Leningrad.
EXT. BERLIN WALL - NIGHT
Odysseus leans on the Berlin Wall and lights a cigarette.
He watched patrols of SOVIET GUARDS pass by. ARMY TRUCKS

carrying unknown cargo. PROTESTORS, DRUNKEN LUNATICS.
FRANK (40s, clean shaven, tailored suit) approaches him.

Extends a hand.
FRANK
You must be Odysseus.
ODYSSEUS
And you're Frank.
Odysseus shakes his hand.
FRANK
How about we get moving? Bit of
a schedule to keep to.
44.
Odysseus nods. Frank turns on his heel and starts moving.
INT. BUTCHER SHOP - LATER
Frank opens the door to a butcher shop, lets Odysseus in.
He moves through the register, down past the back area,

and into a freezer room.
Frank leans down to the floor. He TUGS open a secret door.
FRANK
In here.
Odysseus climbs down. Frank follows him.
BUTCHER SHOP, UNDERGROUND HIDEOUT
Odysseus moves through the cramped corridor.
FRANK
We developed this place during
the war. Renovated and
refurbished 7 months ago to
keep it up-to-date. Nobody will
find you.
They escape the corridor and enter a small room filled

with supplies. There's a desk for writing. It has a gun
with magazine on it.
FRANK (CONT'D)
How long are you staying with
us?
ODYSSEUS
Indefinitely.
Frank nods.
FRANK
When you're done here, we
require payment through a Swiss
bank in gold bullion.
ODYSSEUS
Fine.
Frank leaves back down the corridor.

45.
INT. BUTCHER SHOP - MOMENTS LATER
Frank stands in the front area of the butcher shop, buying

sausages. He hands over regular payment- then a few
hundred more.
The BUTCHER takes the money.
FRANK
(in German, subtitled)
I only came in once to buy
sausages. You never saw the
other man.
The Butcher nods.
FRANK (CONT'D)
Thank you for the sausages.
Have a good day!
THE BUTCHER
You too.
EXT. DOCKS - NIGHT
Hector lies on the docks, leans on fishing eskies. He's

covered by a blue tarp.
A FISHERMAN (50s, white beard) kicks him. Hector wakes.
FISHERMAN
Get up. We're leaving.
Hector nods. He places his hand on an esky, slowly rises,

staggers. The Fisherman supports him.
FISHERMAN (CONT'D)
You don't look good.
HECTOR
I'm fine.
EXT. BOAT - LATER
Hector leans on the railing. Waves roll by.
He looks down at his leg. Pants stained red.

46.
INT. BOAT, CABIN - NIGHT
Hector sits on a wooden chair in a small cabin. There's a

table next to him, and a window to the left. Sleeping bag
on the floor.
Hector slowly pulls off his pants. The bandage tugs with
them a little. He winces and unwraps the bandage. He grabs
the medical kit from the table and opens it.
KNOCK KNOCK.
Hector looks up.
HECTOR
Come in.
The Fisherman opens the door. He looks Hector up and down.

Focuses on the wound.
FISHERMAN
Infected?
Hector starts to rewrap the wound.
HECTOR
No- but I need antibiotics. And
I assume you don't store those
in a medical bag.
FISHERMAN
We're taking a risk as it is
with you. Gonna have to find
them yourself.
Hector nods.
The Fisherman leaves. Hector cuts off the bandage and

places the remaining roll back in the medical bag.
EXT. DINNER PARTY, BALCONY - NIGHT {FLASHBACK}
HECTOR (23) and PATROCLUS (46) lean on the balcony of

Patroclus' apartment. Both have glasses of whisky in their
hands.
PATROCLUS
You still looking for work?
47.
HECTOR
Turns out there isn't much work
for soldiers back here. I could
go to Europe...
PATROCLUS
But Mary.
HECTOR
Mary.
Patroclus sighs.
PATROCLUS
I don't normally do this, but.
Could come work for me.
HECTOR
For you?
PATROCLUS
In surveillance. That's what we
have to call it for now.
HECTOR
Work's good?
PATROCLUS
When it gets going- it's the
best thing you'll ever know.
Patroclus drinks. Hector follows suit.
HECTOR
Money's good?
PATROCLUS
It's government- The money's
good.
Hector nods.
INT. BOAT, CABIN - DAY
KNOCK KNOCK.
The Fisherman opens the door. Hector groans, wakes, looks

up at him.
48.
FISHERMAN
We're here. Get up, get
dressed, and try not to look
too much like you just got
shot.
He throws a set of clothing into the room and closes the

door.
EXT. BOAT - DAY
Hector walks out onto the boat. He joins a line of

FISHERMEN waiting to move off the boat.
The Fisherman from earlier stands behind him. He taps him

on the shoulder.
FISHERMAN
Your papers.
Hector takes a set of papers from him.
EXT. BOAT - MOMENTS LATER
Hector approaches the SOVIET SOLDIER.
SOVIET SOLDIER
Papers.
Hector hands them over. The Soviet checks over them,

glances up at Hector. He hands them back.

Have a good two weeks off.
Hector nods. He moves on.
Hector walks down the hallway, toward Achilles' apartment.

He draws a handgun.
It's unlocked.
He opens the door and steps in.

49.
ACHILLES' APARTMENT
The apartment is barren. Every strip of life has been

removed, every photo, every box or cartridge, everything.
Hector inspects every room, every crevice, but he can't

find anything.
MOSCOW APARTMENT, HALLWAY
Hector leaves the apartment and enters the hall, handgun

raised. He clears both corridors- check- and moves toward
the stairs at the end of the hall.
He leans in. Hears faint footsteps.
He moves to the side of the door.
TWO UNDERCOVER AGENTS (40s, casual clothing) open the door

from the stairs. Hector grabs one, disarms him, and points
his gun on the other.
HECTOR
WHO SENT YOU?! WHO!
The Undercover Agent raises his gun-
Hector FIRES. Bullet hits the agent and he collapses back

into the stairwell.
Hector turns the gun on his hostage.
HECTOR (CONT'D)
WHO SENT YOU?
UNDERCOVER AGENT
I won't betray my country.
Hector FIRES. He searches the agent's body, finds a

magazine for his pistol.
MOSCOW APARTMENT, STAIRWELL
Hector enters the stairwell. He looks down.
At ground level, two UNDERCOVER AGENTS (30s, casual

clothing) look up at him. They remark to each other, IT'S
HIM, and start moving up the stairs.
Hector LIFTS up the Agent in the stairwell and starts

moving down the stairs- a human shield.
50.
The Agents and Hector meet. Hector raises his shield as

the Agents fire- it takes a few bullets, and he FIRES
back. Clips one in the shoulder.
CLICK, gun's empty.
Hector drops the body and charges the other, KNOCKS the
gun from his hand, PUNCHES him in the throat. He GAGS and
falls to his knees.
Hector turns back to the other agent. He STRIKES him in

the bullet wound, the Agent SCREAMS, Hector grabs his gun
and FIRES at him. Two SHOTS to the chest and he crumples
into the corner of the stairwell.
The other Agent stumbles up, GASPING, raising his fists.

Hector SLAMS into him, they hit the floor.
Hector LIFTS him up and over the stairwell.
HECTOR
DID AGAMEMNON SEND YOU?
UNDERCOVER AGENT
(half-gasping)
Not... Agamemnon...
HECTOR
THEN WHO? WHO?!
Hector pulls him further over the drop.
UNDERCOVER AGENT
Achilles... Achilles. He knew
you'd be here.
HECTOR
WHY?
UNDERCOVER AGENT
It's a test of strength.
Hector nods.
HECTOR
I wanna meet with him.
UNDERCOVER AGENT
You'll never make it to him
alive.
51.
Hector SLAMS his head on the railing and pulls him back.
He descends down the stairwell.
INT. BUTCHER SHOP, UNDERGROUND HIDEOUT - DAY
Odysseus waits in the underground hideout.
He spends his time writing- essays, creative pieces,

anything to occupy the mind. He eats at regular intervals.
His life is a clock waiting to tick over until-
KNOCK KNOCK.
Odysseus glances over at the tunnel to enter the hideout.
He moves over, makes his way through it, and listens.
FOOTSTEPS.
They start to move away... Odysseus won't take the chance.
INT. BUTCHER SHOP, UNDERGROUND HIDEOUT - NIGHT
Odysseus writes.
KNOCK KNOCK.
FRANK
Odysseus? Come on out.
Odysseus perks up.
INT. BUTCHER SHOP, UNDERGROUND HIDEOUT - MOMENTS LATER
Odysseus opens the hatch.
Frank and a SOLDIER wait for him.
THWACK with the gun barrel- Odysseus is out.
The Soldier pulls him up into the freezer room.
Frank inspects him.

52.
FRANK
Agamemnon will be pleased.
Hector's right hand man fell
into our lap- it's a shame we
don't have the option to
convert him.
SOLDIER
Money's nice.
FRANK
Speaking of. I'll go get us our
money. Take him away.
EXT. MEETING PLACE ON THE STREETS - NIGHT
Frank waits under a lamppost. He breathes out- the vapor

exits his mouth.
From the street across, from a window high up, somebody

aims at him.
CLINK from a suppressed rifle.
Frank drops.
A VAN PULLS UP. Two SOLDIERS rush out and drag Frank into
the van. They SPEED OFF.
INT. INTERROGATION ROOM - LATER
Odysseus wakes. Hands and feet duct taped to a chair. Room

is dark.
A door opens- light, for a second. An INTERROGATOR (early

30s, sweatpants, black tee) walks in. He sits down in
front of Odysseus.
INTERROGATOR
Where is Patroclus?
ODYSSEUS
Don't fucking know.
INTERROGATOR
How long have you worked for
Patroclus?
53.
ODYSSEUS
Never have. Don't know the guy.
Would love to meet him.
The Interrogator rises. He unfolds a cloth and places it

over Odysseus' face.
Then he grabs a bucket of water.
INT. MOTEL ROOM - NIGHT
Hector sits on a bed in a motel room.
The room's cheap, old, walls are a murky cream.
He makes a call with the phone on the bedside drawer.
Somebody picks up.
AGAMEMNON
Who is this?
HECTOR
Your goons won't stop me,
Agamemnon.
AGAMEMNON
Ah. You.
HECTOR
Whatever you think of me- it
isn't true.
AGAMEMNON
I'm gonna give you one chance
to drop off the face of the
Earth. I've already branded you
as an IRA terrorist. Out to
incite violence and death.
Don't come back to London,
don't come anywhere near the
Service, and I'll leave you
alone.
HECTOR
And if I don't?
AGAMEMNON
Then we drop you off the face
of the Earth.
Agamemnon hangs up. Hector drops the phone.

54.
INT. BIRKENAU CONCENTRATION CAMP, SS OFFICE - DAY

{FLASHBACK}
HECTOR (19) and PATROCLUS (42) sit opposite a SS OFFICER

(30s, uniform, scarred). They're dressed in Japanese
uniforms.
SS OFFICER
Do you speak German?
PATROCLUS
We're both fluent.
SS OFFICER
Wonderful. Now, you wanted a
tour- let's get started.
INT. BIRKENAU CONCENTRATION CAMP, HALLWAY - LATER
The three walk down a hallway in the concentration camp.
Cells of Jews line the walls, barred in- night descends

over Birkenau.
SS OFFICER
We're at max capacity. So many
Jews, so little time. Am I
right, gentlemen?
PATROCLUS
You are indeed. What say we get
rid of a few of them?
SS OFFICER
I- Are you suggesting a
demonstration?
PATROCLUS
Only if possible-
SS OFFICER
Absolutely! Come, come, let me
take you to the red house.
55.
EXT. BIRKENAU CONCENTRATION CAMP, SOŁA RIVER - NIGHT
Night descends over Birkenau.
TWENTY ESCAPEES (16 men, 4 women, varying ages) hide in

the river. They drift downstream, moving to only keep
their heads above water.
An ALARM begins to BLARE- then SHOTS from the distance-

pelting the water.
A few of them HIT the escapees. One by one, they go down,

until only 6 are left drifting out of range.
The alarm begins to fade.
EXT. SOŁA RIVER, RIVERBANK
The escapees approach shore. HECTOR and FIVE OTHER

SOLDIERS wait for them. They help them up.
A truck HUMS. Waiting for them.
One of them approaches Hector. HEBER (50s) looks him up

and down.
HEBER
You organized this?
HECTOR
I thought there were more of
you.
HEBER
The alarm went off- not all of
us made it.
HECTOR
Shame. Get in the truck- it'll
take you to safety.
Heber nods.
EXT. DOCKS - NIGHT {END FLASHBACK}
Hector moves onto the docks, limping, sweating. He

struggles to take more than a few steps at a time.
56.
One boat BLOWS its horn. Hector turns and moves onto it.
A SOVIET SOLDIER from the docks watches him. Starts to

move forward. Following Hector.
SOVIET SOLDIER
Hey! You! Stop!
Hector pays no mind. The boat moves away from the docks.
The Soviet rushes forward, aiming his gun at the boat.

Stop! STOP! FUCK!
He can't jump onto the boat, so he stops at the edge of

the pier.
INT. IRA BOAT - NIGHT
Hector enters the boat. He moves down the hull.
IRA BOAT, CARGO HOLD
Hector looks around the cargo hold. One of the wooden

crates is opened. Inside- rows of ammunition, weapons,
explosives.
There are 6 of these crates.
An IRA SOLDIER looks at him from the doorway.
IRA SOLDIER
Who tha fuck are you?
INT. ARMY TRUCK, BACK CABIN - DAY
Hector wakes- slowly, lethargically.
Two IRA SOLDIERS (40s, balaclavas, camouflaged clothing)

hop out of the truck cabin and move to the back of the
truck. One pulls up the cover to look at Hector.
IRA SOLDIER
Wakey wakey. We're home.
Hector murmurs something. His eyes open and close.

57.
IRA SOLDIER (CONT'D)

Did ya hear me?
(to the other Soldier, in
Gaelic, subtitled)
Pull him out.
INT. IRA HEADQUARTERS - DAY
The IRA Soldier sits opposite MARTIN MCGUINNESS (31).
IRA SOLDIER
He says his name is Robert. We
looked over him- removed a
bullet in his thigh. He's lucky
it hasn't gotten infected.
MARTIN MCGUINNESS
Robert. Good name. He came to
you?
IRA SOLDIER
Wasn't in any condition to go
anywhere. Says he came from
Moscow.
MARTIN MCGUINNESS
I'll talk to him.
INT. HOSPITAL ROOM - DAY
Martin opens the door to Hector's room. He's hooked up to

various tubing.
Martin sits down in the corner.
MARTIN MCGUINNESS
You speak English. If you come
from Moscow, why speak it?
Hector watches Martin.
HECTOR
It pays to speak multiple
languages.
MARTIN MCGUINNESS
You speak Gaelic?
HECTOR
(in Gaelic, subtitled)
I know a little.
58.
MARTIN MCGUINNESS
Interesting. Let's speak in it,
get a grasp on how much you
know.
HECTOR
How much I know about Gaelic?
Or something else?
Martin smiles.
MARTIN MCGUINNESS
You obviously aren't a Russian.
HECTOR
What makes you say that?
MARTIN MCGUINNESS
You were dressed too well when
my men picked you up. So why
are you here?
HECTOR
I don't know if I should tell
you or not.
MARTIN MCGUINNESS
Then know I'm the one
controlling your morphine
supply.
Hector glances up at the drip, then back at Martin.
HECTOR
I've been branded an IRA
terrorist- here I am.
Hector leans up in his seat.
HECTOR (CONT'D)
Hide me.
59.
INT. INTERROGATION ROOM
Odysseus struggles to remain upright in his chair.
The Interrogator sits down- holding a wet cloth.
INTERROGATOR
Where is Patroclus?
ODYSSEUS
I don't know, I don't know, I
don't know.
INTERROGATOR
TELL ME!
Odysseus starts to CRY.
ODYSSEUS
I DON'T FUCKING KNOW. PLEASE.
The Interrogator nods.
INTERROGATOR
You don't know. I don't FUCKING
BELIEVE YOU! There is only one
way out of here. Tell me WHERE
HE IS.
Odysseus looks up at the Interrogator. Smiles at him.
ODYSSEUS
Under our noses. This entire
time. Why do you think that
Achilles was let go? HE WANTED
TO BE LET GO. And you gave him
free rein to do whatever he
wanted to do. ACHILLES IS
PATROCLUS.
The Interrogator smiles back.
INTERROGATOR
Thank you.
EXT. EAST BERLIN STREETS - DAY
Two SOLDIERS cast Odysseus out onto the street. They throw
some money his way and walk off.
60.
Odysseus stumbles up, eyes red, pulsating. ONLOOKERS watch

him.
He looks around as people begin crowding in.
INT. TRAIN - DAY
Odysseus sits on a train, hunched, keeping to himself.

PASSENGERS eye him off but he pays no mind.
ARES (20) appears beside him.
ARES
You going to be okay?
Odysseus looks up at him.
ODYSSEUS
Ares.
ARES
You are at your lowest. But you
will be fine, hmm?
Odysseus shakes his head.
ODYSSEUS
No. No, no no no. I lied. To
protect myself. I broke his
trust, Hector's trust. There's
no coming back from this.
ARES
Be courageous. You still
believe in Hector? In his
power? Disrespecting a God so
you can respect him even more
later is considered good,
Odysseus.
Ares wraps his arm around Odysseus.
ARES (CONT'D)
I will give you my courage to
make it out of East Germany.
This is my gift to you. But
eventually there will come a
time for you to return to
London. You must return.
ODYSSEUS
But how will I know?
61.
ARES
Faith, Odysseus. Faith.
Ares disappears. Odysseus straightens in his place.
INT. THE SERVICE, GERTRUDE SUITE - NIGHT
Agamemnon sits opposite Achilles over steak. They eat.
AGAMEMNON
I'd say welcome back... but I
never really knew you. Didn't
come until you were gone.
ACHILLES
In retrospect, you've done
well. Held the boat together.
Agamemnon nods.
ACHILLES (CONT'D)
My people tell me you and
Hector fell out.
AGAMEMNON
We have our reasons.
ACHILLES
Where is he?
AGAMEMNON
Don't know. Disappeared when I
asked him to.
Achilles nods.
ACHILLES
Keeping tabs?
AGAMEMNON
Not for months.
ACHILLES
I see. Tell me if either
Odysseus or Hector enter
London. Try and get me a
meeting with one of them. Would
love to chat.
62.
AGAMEMNON
6 months ago... there was a
rumour that Odysseus was in
Spain. Hector, I don't know.
Went to your apartment, killed
several men, just disappeared.
Fake ID suggests he went
through Sweden.
Achilles glares at the table.
ACHILLES
I wanted him back and now he's
FARTHER THAN EVER! You've
ruined this. We could be
ruined. The Service is a shadow
of its former self! AND YOU
JUST CAST AWAY ANY HELP WE
COULD HAVE HAD.
Achilles points his knife at Agamemnon and looks up.
ACHILLES (CONT'D)
FIND HIM.
INT. CLASSROOM - DAY
Hector stands at the front of a classroom. Teacher plaque

on the desk: ROBERT NAIRAC.
HIGH SCHOOL STUDENTS watch him.
HECTOR
(Irish accent)
Troubling period for us all, of
course. But we are here to
learn, and learn we shall. Who
can tell me about the end of
the Second World War?
INT. IRA MEETING - NIGHT
Hector opens the door to the IRA meeting. DOZENS OF

MEMBERS are already there.
He spots TIM (16) leaning on the wall. Hector walks over

and taps him on the shoulder.
HECTOR
(Irish accent)
What are you doin' here, Tim?
63.
Tim spins.
TIM
Mr Nairac. I...
HECTOR
(Irish accent)
We'll talk after the meeting.
For now just shut yer mouth and
pay attention.
Martin steps up to a pedestal and begins to SPEAK.
EXT. IRA MEETING, CARPARK - NIGHT
Hector and Tim stand on the edge of the carpark.
HECTOR
(Irish accent)
What're you doin' here, Tim?
Thought I told you to stop
comin' to these. Help yer
folks.
TIM
This is helpin em! Takin back
what's rightfully ours.
Hector frowns.
HECTOR
(Irish accent)
You don't understand what this
is. Let me make it clear to ya:
It's war. And there are
casualties in war. Mm?
Tim sighs.
TIM
Least I have a purpose.
HECTOR
Look Tim, I'm trying to help
you. This kind of stuff isn't
normal. You should be goin out
with mates, not planning some
guerilla shit. Now git goin'.
Tim glares- and walks away.
Martin walks up behind Hector.

64.
MARTIN MCGUINNESS
He's got a spirit about him.
HECTOR
He's blind to the world around
him. As much as I support the
cause- it isn't patriotism
anymore.
MARTIN MCGUINNESS
You tell me.
Hector looks back at him.
HECTOR
Tell me if he keeps coming.
MARTIN MCGUINNESS
Can't stop him, Hector.
HECTOR
I'll fuckin try.
EXT. SCHOOLYARD - LATER
Hector sits on a bench in the schoolyard, eating a

sandwich. He's alone.
APHRODITE (50) walks over.
APHRODITE
Hard man to reach.
Hector looks up at her.
HECTOR
(Irish accent)
Can I help you?
INT. HECTOR'S OFFICE - LATER
Hector closes the door to his office. Small, cramped.

Boxes lie across the place.
Aphrodite looks around.
APHRODITE
Quaint.
65.
HECTOR
(Irish accent)
It ain't much. But it's
peaceful.
APHRODITE
Drop the accent.
Hector stares.
HECTOR
(Irish accent)
I can't just drop an accent-
APHRODITE
You say your name is Robert
Nairac. He went missing 5 years
ago.
HECTOR
(Irish accent)
There can be more than one
Robert Nairac.
Aphrodite sighs. Hector sits in his chair, pulls out a

typewriter.
HECTOR (CONT'D)
(Irish accent)
Do you mind if I write while
you speak?
APHRODITE
Not at all.
Hector starts to TYPE.
HECTOR
(Irish accent)
I've been working on a
screenplay in my spare time.
Almost finished.
APHRODITE
Is it nice? Having spare time?
Not focusing on something?
HECTOR
(Irish accent)
It isn't that I don't focus on
something.
(MORE)
66.
HECTOR (CONT'D)
Gotta make sure my students
succeed, you know? They're the
priority.
Hector stops typing for a moment and looks up at

Aphrodite.
HECTOR (CONT'D)
(Irish accent)
Are you a parent?
Aphrodite chuckles.
APHRODITE
No. No, no, I'm a
representative.
HECTOR
(Irish accent)
A representative. And what does
the person you represent want
with me?
Aphrodite places a chess pawn on the table.
APHRODITE
He wants you back, Hector.
HECTOR
(Irish accent)
Don't know who you're talking
about.
A BELL RINGS. Hector looks out at the hall as STUDENTS

start moving through.
HECTOR (CONT'D)
(Irish accent)
I should get to class. Thank
you for stopping by...
APHRODITE
Aphrodite.
HECTOR
(Irish accent)
Aphrodite. Thank you for
stopping by.
Hector gets up, grabs his bag and goes to leave the room-
he turns back.
67.
HECTOR (CONT'D)
(Irish accent)
Are you in town for long?
APHRODITE
A week or so.
HECTOR
(Irish accent)
Where are you staying?
APHRODITE
Western Bliss Hotel.
HECTOR
(Irish accent)
Can I take you out for dinner
tonight? See you at 7?
Aphrodite nods. Hector nods back and smiles.
APHRODITE
See you at 7.
INT. IRISH PUB - NIGHT
Aphrodite and Hector sit in an Irish Pub. Hector takes a

sip of beer. Aphrodite has wine.
HECTOR
(Irish accent)
Had to practically strangle
barkeep to get this table. Best
one in the place and you can
still see people.
APHRODITE
It isn't exactly a typical
London restaurant.
HECTOR
(Irish accent)
Get what you pay for, I
suppose.
Aphrodite leans in a little.
APHRODITE
Get what you paid for?
68.
HECTOR
(Irish accent)
This place? It's cheap. But
sometimes cheap is good.
APHRODITE
Look... Hector...
HECTOR
(Irish accent)
My name is Robert.
Aphrodite nods.
APHRODITE
Robert. I know your story. I
admire your dedication to your
work, even if that means
putting it aside for months.
But you can't stay away. I've
seen the case studies, we know
how it works. You come back and
you say you're back but you're
not. You lose something out
there, you'll never get it
back.
Hector stares as she talks.
APHRODITE (CONT'D)
I mean even so, he wants you
back. On the front lines again.
Just like before.
HECTOR
(drops Irish accent)
I have a question for you. Have
you met a god?
Aphrodite stops.
HECTOR (CONT'D)
Because I have. It was nothing
like I ever expected it to be.
We all wait for this divine
intervention, and for most of
us, it never comes. It did for
me. TWICE, in fact. And both
times I was left unfulFILLED!
He led me to worse and worse
situations.
Aphrodite smiles.
69.
APHRODITE
You're fulfilling my
expectations.
Hector's gone red. He calms himself.
HECTOR
My past defines me. I wish it
didn't.
Aphrodite extends a hand across the table.
APHRODITE
So come back. Start a new life,
create a new past. That's what
we're offering.
HECTOR
I'll keep running.
APHRODITE
This is your chance, Hector.
Come back. Finally take him
down. You can live again.
HECTOR
But live as who?
EXT. IRISH PUB - NIGHT
Hector and Aphrodite walk out of the pub. They approach

Hector's car.
HECTOR
I can drop you back at the
hotel-
APHRODITE
I'll walk.
Aphrodite opens her purse and pulls out a business card.
On one side: THE GERTRUDE SUITE. On the other, a phone

number.
APHRODITE (CONT'D)
You change your mind, call the
number.
70.
Hector hesitates.
He takes the card.
EXT. IRISH PUB - LATER
Aphrodite watches Hector pull out of the carpark.
EXT. SPANISH VILLA, BALCONY - SUNDOWN
Odysseus sits on a deck chair. He watches the sun go down

on the waterline.
INT. HECTOR'S OFFICE - DAY
Hector sits in his office, thinking, flipping the business

card around in his hand.
INT. LIBRARY - NIGHT {FLASHBACK}
SOLDIERS sleep. HECTOR (19) and PATROCLUS (4) sit up,

reading books using flashlights.
They're nestled into an empty aisle. Hector reads War and

Peace.
Patroclus watches him read.
PATROCLUS
Enjoying it?
HECTOR
I suppose.
PATROCLUS
That isn't certain.
Hector turns the page.
HECTOR
He talks about war like it's a
necessity.
PATROCLUS
Is it?
HECTOR
(pauses)
I don't know yet.
71.
Hector returns to his reading.
INT. LIBRARY - DAY
Hector wakes. He looks on over at Patroclus.
Hector reaches over and lifts the book from his lap. He
opens it.
The first few pages are blank. Then the first dozen, the
first hundred, he skims through the book, there's nothing
to be found.
Hector flips the book over- nothing on the back, nothing

on the front, it's empty.
INT. HECTOR'S HOME - NIGHT {END FLASHBACK}
Hector's Home feels empty. Destitute.
He lies in bed, alone, a nobody.
Achilles sits at a table, phone to his ear.
INT. WESTERN BLISS MOTEL, APHRODITE'S ROOM - NIGHT
Aphrodite lies on her bed, listening to the phone.
ACHILLES
You found him?
APHRODITE
What's left of him.
ACHILLES
Can we use him?
APHRODITE
It'll take some work to get him
back to London. But this is
definitely the guy.
ACHILLES
Do what's necessary.
Aphrodite hangs up.

72.
EXT. WESTERN BLISS MOTEL - NIGHT
Aphrodite leaves the motel and gets into a car. She starts
the car.
Radio turns on: SOME POP SONG. Aphrodite KNOWS THE LYRICS.
INT. HECTOR'S OFFICE - DAY
Hector TYPES away.
KNOCK KNOCK.
HECTOR
(Irish accent)
Come in- Ah. You've come after
school.
Aphrodite opens the door.
APHRODITE
Only to make sure we wouldn't
be interrupted.
Hector sighs.
HECTOR
I already said no-
APHRODITE
You didn't say no, you took my
card. That's a maybe. I have a
proposition for you.
HECTOR
A proposition? Speaking
formally now?
APHRODITE
On the weekend, we head into
Belfast. Have a bit of fun. Let
me show you some things.
HECTOR
We fuck, and I reconsider my
life?
Aphrodite shakes her head.

73.
APHRODITE
Love isn't sex, that's lust.
Let me rekindle a flame. That's
true love.
EXT. APHRODITE'S CAR - DAY
Aphrodite and Hector move into Belfast. POLICEMEN watch

them as they roll through the streets.
APHRODITE
Bit tense here, ain't it?
HECTOR
You could say tense.
Aphrodite parks on the right side of the road. There's a

cafe on the left side.
INT. CAFE - LATER
Hector and Aphrodite sit over tea and coffee.
Aphrodite looks at Hector.
APHRODITE
What was it like?
HECTOR
What was what like?
APHRODITE
You know. The war.
Hector shrugs.
HECTOR
I only remember bits and
pieces.
APHRODITE
Must have some emotion tied to
it. Some word.
HECTOR
Stop probing me.
APHRODITE
Just part of the job, Mr
Nairac. Hector.
74.
HECTOR
Does it matter?
APHRODITE
Our names define us.
HECTOR
And they named you Aphrodite?
APHRODITE
They didn't name me. I was
destined to be who I am.
HECTOR
Destined to come here? Meet me?
APHRODITE
And to get you to come back.
It'll happen. Just a matter of
when.
Aphrodite reaches down into her handbag and fumbles about.

At last, she finds what she's looking for.
CLICK.
APHRODITE'S CAR EXPLODES ACROSS THE STREET. The Cafe

windows SHATTER and PATRONS are blown back.
Aphrodite stands. Unscathed. She pulls a handgun out of

her handbag.
APHRODITE (CONT'D)
We should leave.
She picks up Hector and DRAGS him out onto the street.
EXT. BELFAST STREET
Aphrodite DRAGS him down the street by his arms,

eventually panting, as ONLOOKERS, PARAMEDICS and POLICEMEN
rush past her toward the cafe.
She turns into an alleyway. Hector starts to stir.
EXT. BELFAST ALLEYWAY
Aphrodite opens the trunk. A POLICEMAN moves into the

alley, holding his gun up.
75.
POLICEMAN
HANDS WHERE I CAN SEE THEM,
CUNT.
Aphrodite LOADS Hector into the trunk. She SLAMS down the
trunk door and looks at the Policeman.
He spots the gun in her hand-
POLICEMAN (CONT'D)
GUN-
He FIRES twice. She ducks behind the car and RISES, firing
once. Bullet goes through his head. He drops.
INT. HECTOR'S HOME - NIGHT
HECTOR WAKES, cuddled in bed by Aphrodite. She smiles as

she lies there.
HECTOR
This isn't real love.
APHRODITE
Maybe not- but it's normal
life. Have you ever felt normal
before?
He smiles back.
HECTOR
I suppose not.
INT. AGAMEMNON'S QUARTERS - NIGHT
Agamemnon can't sleep. Haunted by Patroclus, by Hector, by

the things he's done on accusations made by an old man.
He can't face us. He turns onto his stomach.
FADE TO BLACK.
A tape starts to ROLL.
ODYSSEUS (V.O.)
Hector. I'm coming to London.
It's time. It's our destiny.
CLICK.
76.
INT. TAXI - DAY
HECTOR (78) sits in a Taxi, almost crying, fist to his

mouth. He looks out the window.
Hermes looks back at him.
HERMES
Don't cry now. You're so close
to the finish line.
Hector looks over at him.
HECTOR
I shouldn't be going back, I
shouldn't be. I had something.
SOMETHING!
HERMES
It's all built up to this,
Hector. Divine intervention.
Hector keeps staring out the window.
EXT. HECTOR'S HOME, PATIO - DAY {FLASHBACK}
HECTOR (58) and APHRODITE (50) sit on the patio.
HECTOR
This can't go on forever. You
have a promise to keep.
APHRODITE
Gods fortold you go back before
the turn of the century. That's
a fair way off.
Hector nods.
HECTOR
And until then?
APHRODITE
We act like normal people.
Hector leans in.
HECTOR
I like the sound of that.
77.
INT. HECTOR'S HOME - DAY
HECTOR (78) wakes. Alone.
INT. HECTOR'S HOME - MOMENTS LATER
Hector wanders through his house.
HECTOR
Aphrodite? James? Where are
you?
EXT. HECTOR'S HOME, BACKYARD - MOMENTS LATER
Hector exits the patio and moves into the backyard.
He approaches freshly moved dirt. There's a letter on top

of it, titled to Hector.
Hector falls to the ground, beginning to sob, SCREAMING in

pain.
APHRODITE (V.O.)
You knew this day would come.
What we had... it was
beautiful. But there can be no
trace, nothing left. Not even a
son.
EXT. NESTOR'S COTTAGE, WRECKAGE - DAY
The Taxi DRIVES OFF, leaving Hector alone in front of the

ashen remains of Nestor's cottage.
He holds a shovel in one hand and a suitcase in another.
EXT. NESTOR'S COTTAGE, WRECKAGE
Hector DIGS.
He keeps going into the dirt. It spills back over onto

him, he pays no mind.
Eventually- CLINK. He hits something.
Hector uncovers a METAL CASING. He pulls it out of the

dirt and rises.
INT. OPERA HOUSE - NIGHT
The LONDON PHILHARMONIC ORCHESTRA plays for Hector.

78.
OPERA HOUSE, PRIVATE BOOTH
Hector sits alone in a private booth on the far left of

the house. He wears a simple dinner jacket, with a clip-on
bow tie. No cummerbund.
He holds the metal casing. Slowly opens it.
Inside is a piece of paper. A memo. A yellow page, with

words scribbled on in haste. Beneath it, an extensive
dossier, but Hector never gets to the dossier.
The yellow page reads. Achilles plans to kill me. Hector,

I'm sorry. It's you you've been hunting for. - Nestor.
Hector trembles. He drops the casing.
ACHILLES (101) slips into the private booth behind him.
ACHILLES
So now you know.
Hector stares into the page.
HECTOR
It was me.
ACHILLES
We tried to get you back, to
re-establish what was lost. But
Aphrodite said it best herself.
When you leave, you lose
something that will never come
back.
HECTOR
She's wrong, you're wrong. I
didn't lose anything. I gained
a soul.
Achilles leaves the booth.
Achilles picks up a phone. DIALS a number. The number

picks up immediately.
79.
ACHILLES
Burn everything of his to the
ground.
INT. WESTERN BLISS MOTEL, APHRODITE'S ROOM - NIGHT
APHRODITE (50, age unchanged) lies in bed- crying.
INT. SCHOOL - NIGHT
Aphrodite pours a trail of gasoline through the school.
EXT. SCHOOL - LATER
She watches it BURN.
EXT. HECTOR'S HOME - LATER
Hector's Home FALLS into itself. Logs CRACKLE and BURN,

stability reduces, and Aphrodite watches it all.
Robert Nairac has disappeared from Ireland.
Achilles looks over at AGAMEMNON (81). Agamemnon glares.
AGAMEMNON
This isn't what we agreed to.
ACHILLES
What we need is Patroclus back.
So get him back.
INT. LONDON MOTEL ROOM - NIGHT
Hector unlocks the door to his London motel.
He slumps down on his bed.
HADES (50) emerges from the shadows. Hector looks back at

him.
HECTOR
Come to take me?
HADES
Not yet. But your case is
curious.
80.
HECTOR
Take me early, then.
Hades frowns.
HADES
Why would I do that?
HECTOR
Because I'm not fit for this
Earth. I don't deserve what I
have.
HADES
From my perspective, you don't
have a lot.
Hector TURNS-
HECTOR
THE THINGS I DID, HADES. The
things I have done, the things
I could do. I can't stand the
thoughts.
HADES
But your past should not define
you. If you can barely remember
the things you did, did they
happen at all?
HECTOR
Yes. Of course they did. How
couldn't they?
Hades sighs.
HADES
Remember this.
You chose to forget, Hector.
He steps back into the shadows and disappears.
INT. LONDON MOTEL ROOM - NIGHT
Hector looks into the metal casing in the dark.
He lights his vision with a LIGHTER.

81.
NESTOR (V.O.)
What's in here... we have to
meet in person.
Hector looks through the files. Pictures of him, in the

war, with Achilles. War buddies.
Then more, post-war, him a spy, an evil man, killing

countless to further the agenda of the great bloody
Britain.
He shakes with the rage. Moves the lighter closer and

closer toward the dossier.
The flame catches, spreads, encompassing the dossier in

all respects.
Hector lets it burn.
INT. AGAMEMNON'S QUARTERS - NIGHT
Hector enters Agamemnon's Quarters. He sleeps with a WIFE

next to him.
Hector taps him on the shoulder with his gun. Wakes him.
HECTOR
What say we go to the kitchen?
INT. AGAMEMNON'S QUARTERS, KITCHEN - NIGHT
They sit in darkness over coffee.
AGAMEMNON
(breaks silence)
I didn't know who you were. I
thought-
HECTOR
I know what you thought. You
thought if you played alone,
you could get in good. You
thought that Achilles was be
all end all. His word was
gospel to you.
Agamemnon nods.
AGAMEMNON
But I never meant to hurt you.
82.
HECTOR
You cast me out. In some sick
way you helped me.
AGAMEMNON
You don't have to do this,
Hector-
HECTOR
ROBERT.
AGAMEMNON
Robert, we can pretend this all
never happened. You can go live
a life. A peaceful life.
Hector smiles.
HECTOR
But I did.
INT. HECTOR'S HOME - SUNRISE
Hector wakes with Aphrodite in his bed. He smiles,

caresses her, she holds him back.
They're together.
INTERCUT
Hector shrugs.
HECTOR
I lived a wonderful life with
her. With our son. But it
wasn't real love.
INT. HECTOR'S HOME, GARAGE - NIGHT
Hector opens the door from the house to the garage to find
Aphrodite looking over files.
He frowns.
HECTOR
She needed the life she'd had
so long ago. I didn't, not
anymore, but there was always
something nagging me about my
past. She was only there to
coerce me.
(MORE)
83.
HECTOR (CONT'D)
Now though... I see that now
that I know who I was... I
don't care.
Agamemnon places his head in his hands. Hector rises from

the table.
HECTOR (CONT'D)
And now that I'm here...
Patroclus is another man
altogether.
Hector fires, CLINK, Agamemnon slumps in his chair.
Hector leaves.
INT. OPERA HOUSE - NIGHT
The LONDON PHILHARMONIC ORCHESTRA plays a mellow

arrangement.
OPERA HOUSE, PRIVATE BOOTH
HECTOR (78) sits alone.
Two small taps on the door to the booth behind him.
HECTOR
Come in.
The door opens, and ODYSSEUS (85) enters. He closes the

door and stands behind Hector.
ODYSSEUS
We had him. You and I. Nestor
too, if we'd been more cautious
about his involvement.
Patroclus was in our grasp-
HECTOR
Silence. The moment arises.
The Orchestra CRESCENDOS, reaching the pivotal point of

the performance. It lingers... and fades away.
ODYSSEUS
You come here often?
84.
HECTOR
Only twice- momentous
occasions, both of them.
Odysseus goes to leave- Hector beckons him with a finger.
HECTOR (CONT'D)
Come here, take a look at the
conductor.
Odysseus steps closer. Hector points at the CONDUCTOR.
HECTOR (CONT'D)
This is his final performance.
At this opera, but all the
same, I've quite enjoyed it.
I'll miss him. Do you go to the
opera much, Odysseus?
ODYSSEUS
Not recently.
HECTOR
Do try to.
Hector rises. He trembles on his cane.
HECTOR (CONT'D)
I fear this is the last time we
will meet. Take my seat.
ODYSSEUS
I... Where are you going?
Hector stands up tall. He moves past Odysseus, approaches

the door.
ODYSSEUS (CONT'D)
Wait.
He stops.
ODYSSEUS (CONT'D)
What happened to Patroclus?
HECTOR
He simply ceased to exist.
(pauses)
Enjoy the rest of the
performance.
Hector leaves.
85.
Odysseus slumps into the chair as the performance

finishes. Everyone else rises to CLAP.
The Conductor bows.
INT. IRA MEETING - NIGHT
Aphrodite stands at the back of an IRA Meeting. Much

smaller now.
TIM (36) leads the meeting.
Aphrodite pulls a gas mask out of her handbag and places

it on.
GAS GRENADES PIERCE THROUGH THE WINDOWS. The IRA begin to

choke, gag, FLAIL in fear, before they collapse.
Aphrodite locks vision with Tim. He stands next to the

pedestal, eyes red, COUGHING.
He collapses to the wooden floor.
INT. SPANISH VILLA - DAY
Odysseus arrives home. He sets his suitcase down in the

entryway and moves through his home.
SPANISH VILLA, BALCONY - SUNDOWN
Odysseus arrives on the balcony and watches the sun set.
INT. WAREHOUSE - NIGHT
Hector sits, cuffed to a metal chair, cloth bag over his

head.
Aphrodite watches from the side of a black van. She walks

forward and removes the cloth bag, stepping back.
Hector smiles at her.
HECTOR
Aphrodite.
APHRODITE
Robert.
86.
HECTOR
There's something I want to ask
you.
Aphrodite nods, beckons him.
HECTOR (CONT'D)
Did you ever love me?
Aphrodite nods again, this time holding back tears
ACHILLES
Ahem.
Hector chuckles when he sees looks over to see Achilles,

sitting in front of him. He motions at his chained hands.
HECTOR
You feel the need to use
handcuffs.
ACHILLES
Patroclus. I do.
HECTOR
You're speaking to Robert
Nairac. Schoolteacher. Proud
Irishman, if not by blood.
That's who you're talking to.
Achilles sighs.
ACHILLES
We could have done great
things, you and I, Patroclus.
He motions.
Aphrodite WRAPS A PLASTIC BAG OVER HIS HEAD.
Hector doesn't struggle- how could he?- as it happens.

Achilles rises to his feet, slowly. Aphrodite carries on
with the movement.
ACHILLES (CONT'D)
He was wrong, you know. Your
past defines you, in the
literal sense. This was always
what was going to happen.
It's done.
87.
Aphrodite glares at Achilles, an accusation that chills

him.
INT. FREEZER ROOM - LATER
Hector's body leans on the wall of a freezer room filled

with animal corpses.
His eyes glazed over.
In the distance, we can hear the van DRIVE out of the

warehouse.
FADE TO:
INT. DINNER PARTY - NIGHT {FLASHBACK}
Hector (now known as PATROCLUS) (20s) sits at the head of

a dinner party. ACHILLES (40s) sits at the other end.
MARY (late 20s, dress) sits just down from Patroclus. She
rests her hand on his.
ELIZABETH (40s) sits near Patroclus.
Patroclus rests his other hand on a cup of tea.
PATROCLUS
I mean really, I'm just glad to
be home. With all of you.
MARY
I've heard terrible things
about the conditions on the
lines.
ACHILLES
It wasn't so bad. Was it,
Patroclus?
PATROCLUS
Not at all. There was a bloody
good amount of gunfire, but I
made sure Achilles and I got
some good sleeping
arrangements.
Patroclus takes a sip of tea.
MARY
That's nice of you, Patroclus.
88.
PATROCLUS
It was the least I could do for
him.
ACHILLES
You didn't have to-
PATROCLUS
Course I did.
Mary releases Patroclus' hand. He rushes to move it away

from her, and grabs his serviette. Achilles frowns at the
movement.
Patroclus prepares his serviette.
PATROCLUS (CONT'D)
Let's eat, eh?
EXT. WAR-TORN STREET - DAY
A SOLDIER (18, army fatigues, rifle) walks down a war-torn

street.
TANKS ROLL ALONG BEHIND HIM.
CIVILIANS huddle, facing brick walls to either side,

marched on by JAPANESE INFANTRY.
PATROCLUS (18) walks next to the Soldier. He points at a

few of the civilians.
PATROCLUS
See these people?
SOLDIER
I see them.
The Soldier doesn't turn to face Patroclus, not once.
PATROCLUS
They're weak-willed. They face
the walls. We don't.
SOLDIER
We march ahead, right?
PATROCLUS
(nods)
We march ahead. That's right.
89.
Patroclus stops. The Soldier finally looks back at him.
SOLDIER
They're civilians.
Patroclus RAISES AN OPEN PALM. The soldiers move away from

the civilians. Raise their rifles.
He clenches his fist. THE SOLDIERS FIRE.
PATROCLUS
(grins)
Feels good to kill.
INT. THE SERVICE, ENTRANCE - DAY
Patroclus opens a heavy door to the service. A CLERK (30s,

dress) sits at a desk to his left. Beyond that, a hallway
stretches as far as Patroclus can see.
PATROCLUS
Hi.
CLERK
Patroclus? Down the hall, take
the second left, please.
Patroclus paces down the hall. Takes the second left.
INT. THE SERVICE, MEETING ROOM
Patroclus sits opposite AGAMEMNON (30s) and ACHILLES

(40s).
PATROCLUS
Define my role.
AGAMEMNON
You'd be primarily working with
our agents in Germany. Feeding
them information, obtaining
dead drops, etcetera.
PATROCLUS
I'll be in Europe.
AGAMEMNON
Berlin, yes.
90.
PATROCLUS
Why not London? Here, with the
Service?
AGAMEMNON
We need people in Berlin. Have
to keep an eye on things.
ACHILLES
You won't be in danger.
Patroclus frowns. Achilles watches him and realizes.
ACHILLES (CONT'D)
Ah.
PATROCLUS
I wanted to be on the front
lines.
ACHILLES
Those don't exist anymore,
Patroclus. This is the closest
you'll get. Days of Brit-
killing are over.
INT. LIBRARY - NIGHT
SOLDIERS sleep. HECTOR (19) and PATROCLUS (4) sit up,

reading books using flashlights.
They're nestled into an empty aisle. Hector reads War and

Peace.
Patroclus watches him read.
PATROCLUS
Enjoying it?
HECTOR
I suppose.
PATROCLUS
That isn't certain.
Hector turns the page.
HECTOR
He talks about war like it's a
necessity.
91.
PATROCLUS
Is it?
HECTOR
(pauses)
I don't know yet.
Hector returns to his reading.
INT. LIBRARY - DAY
Patroclus wakes. He looks on over at Achilles.
Patroclus reaches over and lifts the book from his lap. He
opens it.
The first few pages are blank. Then the first dozen, the
first hundred, he skims through the book, there's nothing
to be found.
Patroclus flips the book over- nothing on the back,

nothing on the front, it's empty.
INT. BIRKENAU CONCENTRATION CAMP, SS OFFICE - DAY
Patroclus and Achilles sit opposite a SS OFFICER (30s,

uniform, scarred). They're dressed in Japanese uniforms.
SS OFFICER
Do you speak German?
PATROCLUS
We're both fluent.
SS OFFICER
Wonderful. Now, you wanted a
tour- let's get started.
INT. BIRKENAU CONCENTRATION CAMP, HALLWAY - LATER
The three walk down a hallway in the concentration camp.
Cells of Jews line the walls, barred in- night descends

over Birkenau.
92.
SS OFFICER
We're at max capacity. So many
Jews, so little time. Am I
right, gentlemen?
PATROCLUS
You are indeed. What say we get
rid of a few of them?
SS OFFICER
I- Are you suggesting a
demonstration?
PATROCLUS
Only if possible-
SS OFFICER
Absolutely! Come, come, let me
take you to the red house.
EXT. THE RED HOUSE
Patroclus, Achilles and the SS Officer sit in chairs,

overlooking the red house.
The SS Officer grins to himself. Achilles squirms.

Patroclus watches on in awe.
PATROCLUS
Incredible. How many can you
fit inside these things?
SS OFFICER
Almost 800.
PATROCLUS
Marvelous.
EXT. BIRKENAU CONCENTRATION CAMP, SOŁA RIVER - NIGHT
Night descends over Birkenau.
TWENTY ESCAPEES (16 men, 4 women, varying ages) hide in

the river. They drift downstream, moving to only keep
their heads above water.
93.
An ALARM begins to BLARE- then SHOTS from the distance-

pelting the water.
A few of them HIT the escapees. One by one, they go down,

until only 6 are left drifting out of range.
The alarm begins to fade.
EXT. SOŁA RIVER, RIVERBANK
The escapees approach shore. HECTOR and FIVE OTHER

SOLDIERS wait for them. They help them up.
A truck HUMS. Waiting for them.
One of them approaches Achilles. HEBER (50s) looks him up

and down.
HEBER
You organized this?
ACHILLES
I thought there were more of
you.
HEBER
The alarm went off- not all of
us made it.
ACHILLES
Shame. Get in the truck- it'll
take you to safety.
Heber nods.
I/E. TRUCK, FRONT CABIN - DAY
PATROCLUS (18) and ACHILLES (41) drive down a muddy road.

Patroclus drives, Achilles sits in the passenger seat.
It's POURING outside.
PATROCLUS
You know, I drove these before
the-
BULLETS PIERCE the cabin from all directions. The truck

SWERVES off the road.
94.
It CRASHES into a ditch.
Patroclus GROANS as other GERMAN SOLDIERS (varying ages)

approach the truck. He rises his rifle.
One German goes to open the passenger door-
Patroclus FIRES a burst of rounds into him and he falls

into the mud.
MUDDY DITCH
He KICKS open the door and starts aiming- FIRING- at the

other soldiers. Patroclus stumbles out into the mud- gun
CLICKS empty.
He picks up a German Soldier's rifle and FIRES that until

it's out.
One German, THE DIRECTOR (13) is left, waiting on the side

of the truck, with a knife. He takes a few breaths to
prepare himself.
He JUMPS at Patroclus. Patroclus turns to look as he

tackles him to the mud. The Director starts to PUSH the
knife toward his chest.
Patroclus GRUNTS, his teeth baring. The Director leans his

weight into the push.
It isn't enough.
Patroclus starts to push back. He KICKS The Director off

of him, wrestles for the high ground, then starts PUSHING
the knife toward The Director's chest.
He presses the knife in-between The Director's pectorals.

Blood draws. The Director gasps- loses his grip- Patroclus
PUSHES down.
Achilles swaggers over, grabs Patroclus, pulls him up.
ACHILLES
Hey! HEY! PATROCLUS! He's just
a kid. He's just a kid.
ACHILLES (CONT'D)
Let me go! Let me go! Fuckin
try to shoot us! HUH?!
Achilles keeps a tight grip on Patroclus.

95.
ACHILLES (CONT'D)
(to The Director)
You understand English?
The Director nods hastily.
ACHILLES (CONT'D)
Walk away.
Patroclus releases the knife, stumbles up. The Director

looks at him. Blood draining from his chest.
The Director turns, walking, then running away.
Achilles lets Patroclus go.
ACHILLES (CONT'D)
(breathless)
He's just a kid, Patroclus.
INT. APARTMENT SAFEHOUSE - DAY
Patroclus sits on a bed. In between his fingers rests a

canister of pills.
He opens it and dumps the pills into his mouth. Grabs a

glass of water, swallows them down- GAGS with the taste.
He lies down on the bed. An overhead fan swings, and as it

swings, Patroclus falls unconscious. Everything gets
slower and slower until it isn't there anymore-
EXT. TRAIN STATION - NIGHT
PATROCLUS (50s, suit) waits in an old train station. He's

alone. He carries a large dossier in a leather-gloved
hand. He never moves, but he does breath. only known by
the misty fog that exits his mouth.
His eyes are closed.
A TICKET HANDLER (80s, male) watches him from the booth

across the station. He rubs his fingers together to
prevent numbness. He's locked behind a grate, his only
access with the outside world a small cutout to hand over
tickets to passengers.
TICKET HANDLER
(Yorkshire accent)
Whas your name, Sir?
96.
Patroclus stares back at the Ticket Handler. He trembles.
Patroclus moves through a hallway. The door to the exit

stairs closes at the end of the hall, but he can't see who
entered.
He approaches the door.
VOICE (O.S.)
Who are you?
PATROCLUS
Hector.
The voice emerges.
ACHILLES (70s, hunched, dressing gown) watches him. He's

holding a pistol, but quickly relaxes.
ACHILLES
I'd know that voice anywhere.
INT. THE SERVICE, ENTRANCE
Patroclus walks down the hall, deeper into the Service,

into the Achaean ramparts.
He slowly moves, uniformly, as if he's in a parade.
He reaches the entrance to the Gertrude Suite.
The door opens and he steps in.
INT. HECTOR'S HOME - SUNRISE
Robert and Aphrodite embrace.
CUT TO BLACK.
THE END.

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Hunting Patroclus

Logline : A amnesiac spy must recover his memories by hunting

Texture : 80's European style

EXT. SCHOOLYARD - DAY

1930s schoolyard. It snows. Children play. They throw

Schoolyard's empty now. Two men step into the yard-

Achilles hands over a package to Patroclus.

Patroclus turns and leaves the schoolyard.

Achilles watches him go. He blows his nose with a

EXT. TRAIN STATION - NIGHT

HECTOR (57, suit) waits in an old train station. He's

His eyes are closed.

A TICKET HANDLER (80s, male) watches him from the booth

Hector opens his eyes and approaches the Ticket Handler.

INT. TRAIN, CARRIAGE - LATER

Hector rests in a small carriage of a train. It's wooden.

There's a picture of him- outside of an apartment. From

One paragraph at the bottom of the page is handwritten.

A WAITER (30s) opens the door to Hector's carriage. Hector

The waiter leaves. Hector waits until he's long-gone

There is a contact in Moscow. Address below.

Hector makes note of the address.

He pulls a lighter out of his pocket. Sets it ablaze.

Hector opens the carriage window and throws the smoldering

EXT. MOSCOW STREET - DAY

Hector walks down a bleak street. As he walks, he looks up

There's a newspaper box on the corner of the street.

It's in English, but Hector pays no mind.

1979... Polish Recession Strikes Farmers.

He puts the paper back.

INT. MOSCOW APARTMENT, HALLWAY - DAY

Hector moves through a hallway. The door to the exit

He approaches the door.

The voice emerges.

ACHILLES (80, hunched, dressing gown) watches him. He has

INT. ACHILLES' APARTMENT - DAY

Achilles and Hector sink into faded couches over coffee.

Hector looks around the apartment. He sighs, then turns

Achilles takes a sip of coffee with shaky hands.

Achilles chuckles- it turns to a raspy COUGH.

Achilles is shaking now.

Achilles sighs. He puts down his coffee.

Achilles pulls himself off of the couch. He plods to the

Hector places his coffee on the table.

EXT. MOSCOW STREET - DAY

Hector leaves the Moscow apartment block and walks out

INT. BAR - THAT NIGHT

Hector enters a bar filled with SOVIET SOLDIERS. He

Hermes pours one.

He continues to pour. Hector's hand rises higher and

Hermes caps the bottle of whisky. Hector sculls it.

INT. BAR - LATER

Hermes watches Hector.

Hector grins and lights a cigarette.

Hector raises his hand to cover the sun behind Hermes.

EXT. BAR - LATER

Hector and Hermes climb into a small car. Hermes STARTS